唐代佛教与山水共生的寺院诗  

The Co-Generated Temple Poems of Buddhism and Landscape in Tang Dynasty

作　　者：左福生 Zuo Fusheng(Editorial and Publishing Center,Chongqing Normal University,Chongqing 400331,China)

机构地区：[1]重庆师范大学编辑出版中心,重庆401331

出　　处：《重庆师范大学学报（社会科学版）》2023年第4期94-104,共11页Journal of Chongqing Normal University(Edition of Social Sciences)

基　　金：2019年度国家社会科学基金西部项目“佛教寺院与宋代诗歌的互动关系研究”(19XZW013);2019年度重庆师范大学博士启动基金项目“宋代寺院对诗歌创作与传播的影响研究”(19XWB024)。

摘　　要：在中国诗史上,唐代是寺院诗创作的转进与勃兴期,作品数量及题材拓展均取得极大突破。在书写模式上,相继形成藉景畅理、触境明心、纪实绘景三种类型,充分体现佛教与山水互彰的共生性,为山水诗开拓出全新境界。唐人寺院诗重写景造境,常以动静相生法状清寂之景,物态生动,意境幽玄。寺院诗在艺术表现上追求警策,字锻句炼,隽语频出,普遍形成以精切之语状绝胜之景的艺术效果。In the history of Chinese poetry,the Tang Dynasty is a period of transformation and prosperity of temple poetry creation.During this period,poets made great breakthroughs in the number of poems and the expansion of themes.In terms of writing mode,three types had emerged successively,namely reasoning through scenery,understanding mind through artistic conception,and documentary landscape painting,which fully reflects the symbiosis between Buddhist culture and landscape.The development of temple poetry also opened up a new realm for landscape poetry.The poets of Tang Dynasty attached great importance to the painting and the creation of the environment when they wrote temple poetry,often with static and dynamic approach to create a quiet scene,the state of the material was very vivid,artistic conception was also very quiet.In the aspect of artistic expression,poets often repeatedly chose words and extract sentence meaning,the good sentence in the poem was very big.Therefore,temple poetry generally formed the artistic effect of wonderful language expressive beautiful scenery.

关 键 词：寺院诗 藉景畅理 触境明心 纪实写景 清寂幽玄 

分 类 号：I207.22[文学—中国文学]